Tag Archives: writing novels

Goal Setting for Writers

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Goal Setting for Writers

By Natalie Bright

 

Happy New Year!

A New Year-A New Start

It’s a new year which means it’s time to think about your writing career and where you’d like to be professionally in twelve months from now.

For writers, I think visuals are important. Keeping logs on word count or article submissions provides a tangible, measurable accomplishment. Putting pen to paper is only part of the business of writing. Think about promotional and social media goals as well.

Be establishing long term goals, you are able to visualize the big picture of what you hope to achieve.  Can you see yourself as a successful, published author?

Goal Setting Worksheet

Our critique group uses a worksheet. Make your goals simple and specific, things that you can actually visualize yourself achieving. Making the New York Times Bestselling list is probably not realistic if you’re a beginning writer, however it’s a goal that is achievable in the long term.

3 in 24:

Finding time to write is something I struggle with every single day. No, the entire universe did not come together to prevent you from putting words on a page, but it sure seems that way. Identify 3 times in a 24-hour period to Write, and do it.

For example:

1. Wake-up one hour early and write.

2. Skip lunch with coworkers and write only new words on WIP Monday-Thursday.

3. Stay up late at least one hour on Friday, Sat., and Sun. to work on edits or blogs.

Study your list. Can you visualize yourself actually accomplishing these tasks? Can you see yourself with pen in hand or typing at the keyboard at the times and places you’ve chosen? Setting achievable goals equals success.

Realistic Attainable Goals:

Make a list of at least four goals you hope to accomplish within the next year.

Achievable goals would be defined as something you can definitely complete, to measure your progress and give you a sense of accomplishment that your writing career is moving forward. This could be things like writing and polishing an entry for a contest, or completing a submission for an anthology. Be specific; what contest? Don’t know of any? Find one and list it on your goals sheet.

Dreaming Big

Add to your worksheet one “dream big” goal. List something you hope to achieve that seems totally impossible. Go ahead and put the “NYT Bestselling list” here if that’s what you want more than anything.

Expect the Unexpected

Keep an open mind to opportunities that might come your way in the new year that you never expected. Sometimes saying yes opens doors to bigger and better things.  So I didn’t win a SPUR award this year, however I did gain a few publishing credits along with finishing another middle grade novel. All in all it was a productive year, which leaves me with only one option—work even harder in 2014.

What about you? Please tell us about your successes this past year.

Thank You

Write, submit, onward we go! Good luck and Happy New Years, and thanks to all of you who have followed Wordsmith Six during the past year. We really appreciate you.

Sending out our best wishes that you achieve your writing goals in 2014!

Characterization Part 5

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Characterization Part 5

By Natalie Bright

 

I’m reviewing my notes from past conferences and blogging about characterization. Please feel free to comment on any tips you’ve learned on developing believable and likable characters. The past few blogs have been a hodge-podge on all concepts of developing characters. We’re digging deeper again this week, because really, you just can’t know enough about your characters.

Have you completed a character questionnaire yet? There are tons of great examples on the web.

Keep Digging Deeper

What is the one unique component of literature that humans enjoy? The key that all writers strive for? The take-away that readers can take pleasure in?

The answer: emotion.

We can read a story and find joy or fear. We can laugh out loud at the antics of a main character, or we can weep for concern at their plight. The power of the written word is an amazing thing.

As a writer, we must dig deeper. You have your character’s profile and you know their attitudes. As Steven James said, “What are your characters passionate about, desire, most ashamed about, afraid to pursue? Now give them what they want the most and snatch it away. Dangle her heart’s desire in front of her and never let her have it.”

Finding Emotion

We’re just human, with human emotions and life experiences. Real life events of experiencing or observing provides the basis from which our characters emerge.

How can your character respond to death unless you draw upon your experiences in being at someone’s bedside when they passed? How can your character experience love lost unless you weep as you write it? How can you write about the power of indifference without drawing upon your own past? Even if you haven’t experienced the emotion, then you can probably find someone who has.

Authors can’t be sissy’s about this. We have to go there. We have to revisit those painful experiences again and convey them to our readers through the fictional characters we create. I’m not saying it has to be the exact same experience, but you can apply the emotions you’ve felt to fictional situations. As your heroine meets those challenges and overcomes the obstacles, this becomes the character arc.

Developing the Character Arc

Character arc is defined as the emotional problems through which the protagonist (and antagonist and sometimes secondary characters) must face to achieve their goal. 

As bestselling author Steven James points out, “At the heart of every story is tension, and tension is that unmet desire which includes both external and internal.” As your character tries to achieve that desire and overcomes the antagonist, they change, they grow, they become better for their experiences. You must dig past the surface elements of your story and determine the why. 

Some of the most common arcs are: going from emotionally dead to being emotionally alive, learn to accept other’s faults, overcome a fear, learn to take risks, overcome guilt, learn to accept his own faults; and the list can go on and on. These are most obvious in movie screenplays where characters struggle with some emotional dilemma that is resolved at the end regardless of the action going on around them.

More Conflict Please

In order to dig deeper, Jodi Thomas suggests all dialogue reflect some type of conflict. “It’s not necessarily a conflict between the two characters speaking. One could be having internal conflict while they’re saying something else,” Thomas says.

Author Jennifer Talty explained that, “conflict is the fuel that starts your story. The internal motivation of your character is the fuel that drives your story.” 

As the core conflict between the protag and antag increases, the internal emotional conflict escalates and becomes your character’s arc.

For more information, Goal Motivation Conflict by Deb Dixon is an excellent addition for your writer’s reference library.

Have fun and keep writing!

Nat

 

Characterization Part 4

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Characterization Part 4

By Natalie Bright

 

Characters with Attitude

Based on previous blogs, you now know the history of your characters. You also know what makes them tick emotionally.  It’s great that you know so much about your characters, but you can’t use it in your novel. Do not bore the reader to death with too much back story.

When I lunch with writer friends or meet with my critique group, we have in-depth conversations about our character’s motivations. We question their motives because characters should ‘stay in character’ for the entire novel. I’m reading a book now where the main character steals money from a classmate and plans a trip with a fake passport. I’m totally bummed. I really liked this character and now I don’t. To me this action seemed out of character for the person I thought she was. (But it doesn’t really matter because I’m not the author, and ultimately we can write our story the way we want to.)

As you write, you will only reveal a small amount of the history you’ve created.  Knowing that background is crucial for it will shape how they act and speak. Their personality and attitude will come through as they face the conflict in your plot. You will reveal your character through dialogue, their actions, and how they respond to conflict.

If the main character is only nine, remember his ideas will be shaped by the experiences he had in those nine years. He hasn’t lived a lifetime yet.

Profiling

Put some serious thought and effort into profiling your characters. Identify specific strengths and weaknesses. If you believe they’re real, readers will believe your characters are real too and will care about their story. For example, author and teacher, DeWanna Pace, pointed out that in most main stream action/adventure stories the strengths of the hero overcomes the strengths of the villain. In the case of romances, the strengths of the hero and heroine combine to overcome the conflict in the plot line. You’ve got to know their strengths and weakness in order to intertwine these traits into the plot.

Heroes have Flaws / Villains have Reaons.

Develop a detailed profile for each of your main characters.

For the protagonist, assign three likable traits and one bad trait. These can be internal or external, emotional or physical. Having bright red hair can be a good or bad trait, for example, depending on the circumstances you’ve set-up for your character. Your main character may whine and complain constantly, but please, give your readers something to like about her. Otherwise, we could care less how her story ends.

For the antagonist, assign three bad traits and one redeeming quality. Give your villain one good trait that makes him likable. Maybe he has a deep love for his mother. Perhaps your antagonist is worldly and extremely beautiful, but evil to the core.

Interview your characters to determine their motivations. You can do this through a structured exercise or by free writing. Start writing in first person from your characters head, and see what they can tell you. Phyliss Miranda uses this method and highlights the traits as they are revealed in the manuscript, which helps her make sure she doesn’t repeat the same information.

I attended a workshop given by a romance author who creates astrological signs for her hero and heroine. The conflicts and commonalities are determined by a star chart, and then she fills in the setting and plot line to construct their journey to find love. Also, there is David Freeman’s “Diamond Technique”, basic Metaprograms test, or “The Hero’s Journey” concept of plotting.  

Character development continues next Monday. Stay tuned!